Minogue worked with writers and producers such as Cathy Dennis, Rob Davis, Richard Stannard, Julian Gallagher, TommyD, Tom Nichols, Pascal Gabriel and others to create a disco and Europop-influenced dance-pop and nu-disco record.

"In Your Eyes" and "Love at First Sight" also became international hits, while "Come into My World" won Minogue her first Grammy Award, for Best Dance Recording, in 2004.

Fever has sold over six million copies worldwide as of 2021, and has been retrospectively declared the greatest album of Minogue's career by publications such as NME.

In 1998, Minogue was dropped from her label Deconstruction following the poor commercial performance of her sixth studio album Impossible Princess.

[6][7] In the vein of Light Years, Fever is a disco and dance-pop album that contains elements of adult contemporary and club music.

[6][9][10] Jacqueline Hodges from BBC Music wrote that the album is not "pure pop", and is rather characterized by a more adventurous dance-oriented sound.

[11] NME critic Alex Needham identified a "filter disco effect", described as "the one that sounds like you've gone under water and then ecstatically come up for air," working on various songs on the album.

[6] Teen pop elements appear on songs like "Love at First Sight", which begins with an electric piano intro,[10][13] and the "aggressive" "Give It to Me".

[11] Jason Thompson from PopMatters commented that Minogue "knows how to express herself through irresistible melodies and seductive emoting",[10] such as on the title track, which makes use of "suggestive panting".

[15] Lynskey Dorian from The Guardian suggested that Minogue refers to either "a partner, an evasive one-night stand or someone who doesn't know she exists" as her obsession.

[15] The production of "Give It to Me" contrasts with its lyrics: Minogue urges her partner to "slow down," but the beat "goes in the opposite direction and tells your body to push it a little more on the dance floor.

[10] On the other hand, "Dancefloor" focuses on issues like dealing with an end of a relationship, with Minogue celebrating a break-up by "lose[ing] it in the music".

[10] Minogue's close friend and stylist William Baker, collaborated with graphic designer Tony Hung to create the artwork's concept of electro-minimalism.

[17] On the cover, which was photographed by Vincent Peters and inspired by the cover of Grace Jones' Island Life (1985),[18] Minogue is seen "bound by a microphone cord, literally tied to her craft" and dressed in white leotard designed by Fee Doran, under the label of Mrs Jones, and shoes made by Manolo Blahnik.

The tour was split in seven acts and "Can't Get You Out of My Head", "Come into My World", "Fever", "In Your Eyes", "Love at First Sight" and "Burning Up" were the songs from the album to be included on the setlist.

[26] The outfits were designed by Italian luxury industry fashion house Dolce and Gabbana, and Minogue went through a total of eight costume changes during the tour.

[33] The song was released in the United States on 18 February 2002 and managed to peak at number seven on the Billboard Hot 100 chart,[34] becoming Minogue's best selling single in the region since "The Locomotion".

[36] An accompanying music video for the single was directed by Dawn Shadforth and features Minogue and a number of backup dancers dancing in various futuristic backdrops.

[40] The song was also commercially successful internationally and peaked in the top ten of charts in countries like Italy,[41] Finland,[42] Switzerland,[43] and the United Kingdom.

[4] An accompanying music video for the song was again directed by Shadforth, and features Minogue performing a dance routine and striking various poses in a colourful neon-lighted room.

The song was a commercial success and peaked in the top ten of charts in countries like Australia,[48] Denmark,[49] Italy,[50] New Zealand[51] and United Kingdom.

[54] An accompanying music video for the single was directed by Johan Renck and features Minogue dancing in a futuristic environment sporting cargo pants and teal eyeshadow.

Commercially, the single performed fairly well and peaked in the top 10 in Australia,[59] Belgium (French-speaking Wallonia region),[60] and the United Kingdom.

[10] Chris True from AllMusic also gave it an acclaimed review and enjoyed the simple disco and dancepop music of the album, saying that there is "not one weak track, not one misplaced syrupy ballad to ruin the groove".

[16] Michael Hubbard from MusicOMH enjoyed the fun nature of the album and said that "if you want something to drive to, dance to, play at a house party or cheer your workmates up with, Fever is for you".

[6][108] The image she adopted during this period was described by Baker as "slick, minimalist and postmodern", and it was seen as a step forward from the "camp-infused" tone of Light Years.

Club opined that Minogue's public image and her persona in her music videos "presented herself as a mechanical muse whose every gesture snapped and locked into place with the sound of a vacuum seal".

[110] He further remarked that the singer's "hygienic coo summoned a cool sort of cyborg soul, and her videos showed her gliding through sleek futurescapes, tonguing the sweet-and-sour tang of a techno kiss".

[111] Robbie Daw from Idolator pointed out that Britney Spears's recording of her 2004 hit "Toxic", Madonna's comeback album Confessions on a Dance Floor (2005), Paris Hilton's musical debut Paris (2006), and radio stations' shift towards playing "more groove-oriented sounds" all followed the release of Fever, although he mentioned that "we have no way of knowing whether [Fever] was directly responsible for these pop happenings".

[22] Nick Levine from NME ranked Fever as the greatest album of Minogue's career, noting "the project’s effortless confidence and strength in depth.